Ivan Fischer

Mahler Das Lied von der Erde BUDAPEST CHANNEL CLASSICS CCS SA 40020 FESTIvanI VAL ORCHESTRA Fischer Gerhild Romberger, alto Robert Dean Smith, tenor Iván Fischer and BFO ván Fischer made his dream come true when he founded the Budapest Festival Orchestra in I1983 together with Zoltán Kocsis. From the very beginning, the ambition of the ensemble has been to share music of the highest quality and to serve the community in the most diverse ways. The bfo is rated among the top ten orchestras in the world. The orchestra regularly performs at the most important concert venues of the international music scene, including Carnegie Hall and the Lincoln Center in New York, the Musikverein in Vienna and the Royal Albert Hall and Barbican Centre in London. They have repeatedly been invited to perform at international festi- vals such as the Mostly Mozart Festival, the Salzburg Festival and the Edinburgh International Festival. The bfo has won two Gramophone Awards. It was nominated for a Grammy in 2013 for its recording of Mahler’s Symphony No. 1 and won the Diapason d’Or and the Italian Toblacher Kom- ponierhäuschen prize for its recording of Mahler’s Symphony No. 5 in 2014. The bfo received the Association of Music Critics of Argentina’s award for Best Foreign Symphony Orchestra in 2016. The bfo’s innovative concert, such as the Autism-friendly Cocoa Concerts, Surprise Concerts, and musical marathons, are well known around the world. The Midnight Music concerts attract young adults, while the Dancing on the Square project integrates disadvantaged children. The orchestra promotes free Community Weeks and co-produces the Bridging Europe festival with Müpa Budapest. Iván Fischer conducts and directs the Budapest Festival Orchestra’s opera productions. These have been invited to the Mostly Mozart Festival, the Edinburgh International Festival and the Abu Dhabi Festival. The Marriage of Figaro was ranked first on the New York Magazine list of the best events in classical music in 2013. The Vicenza Opera Festival, founded by Iván Fischer, was inaugu- rated in the autumn of 2018. Gerhild Romberger, alto erhild Romberger was born and brought up in the Emsland, Germany. After studying music Gfor schools at the Academy of Music in Detmold, she attended voice training classes with Heiner Eckels and graduated with concert-standard honours. She rounded off her studies with Iván Fischer (Photo: Jonas Sacks) courses under the professors of lieder performance Mitsuko Shirai and Hartmut Höll. She now 18 3 lives with her family in Detmold, where for a long time she has been an extremely popular professor of singing at the Academy of Music. As a contralto she has always concentrated on concert performances, her work focusing on lieder recitals on a wide variety of themes, as well as on contemporary music. Her extremely extensive repertoire encompasses all the major contralto and mezzo-soprano parts in the oratorio and concert literature from the Baroque to the Classical and Romantic periods all the way to the twentieth century. Significant career moments for Gerhild Romberger in recent years were the concerts with Manfred Honeck, who invited her to perform in, among other works, Mahler’s symphonies, Beethoven’s Missa solemnis and the Grosse Messe by Walter Braunfels. She has also performed with the Berlin Philharmonic under Gustavo Dudamel, the Los Angeles Philharmonic under Herbert Blomstedt and the Leipzig Gewandhausorchester with Riccardo Chailly. Furthermore she performed with the Vienna and Bamberg Symphony Orchestras (under Daniel Harding), the hr- Sinfonieorchester, at La Scala (under Franz Welser- Möst) and with the Bavarian Radio Symphony Orchestra (under Thomas Hengelbrock and Bernard Haitink). Highlights of the current season include a concert tour with the Vienna Philharmonic Orchestra and Beethoven´s 9thSymphony under the baton of Andris Nelsons as well as Mahler´s Gerhild Romberger (Photo: Rosa Frank) Robert Dean Smith (Photo: Todd Smith) 3rdSymphony with Concertgebouworkest in Amsterdam. Furthermore, she can be heard with Mahler´s Kindertotenlieder and the Budapest Festival Orchestra and with Schumann´s Paradies Munich, London Symphony Orchestra, Accademia Nazionale di Santa Cecilia Rome, Staatskapelle und Peri at Hamburg´s Elbphilharmonie. Berlin, Orchestre Philharmonique de Radio France, Budapest Festival Orchestra, Orchestre de Paris, Los Angeles Philharmonic, Vienna Symphony, London Philharmonic Orchestra, Hamburg Robert Dean Smith, tenor Symphoniker, Symphonica Toscanini, Deutsches Symphonie Orchester Berlin, Monte-Carlo Orchestre Philharmonique, and the Cincinnati Symphony Orchestra. e made his debut at the Bayreuth Festival in 1997 as Walther von Stolzing in Die Meistersinger von Robert Dean Smith’s cd recording on Arte Nova of Wagner scenes has been awarded the HNürnberg, returning as Tristan, Lohengrin, and Siegmund in Die Walküre. Additional engagements ‘Orphée d’Or’ by the Académie du Disque Lyrique. Born in Kansas, usa, he studied at Pittsburg include performances with the opera houses of Munich, Vienna, La Scala Milan, Rome, Naples, (Kansas) State University with Margaret Thuenemann, at the Juilliard School in New York City Paris, met New York, Berlin, Dresden, Hamburg, London, Bolshoi Moscow, Chicago, Los Angeles, with Daniel Ferro, and with Professor Janice Harper in Europe. Like many dramatic tenors, he San Francisco, Madrid, Barcelona, Budapest, Toulouse, Zürich, and Tokyo. began his career as a baritone and sang for several years in German opera houses. His excellent He has performed in concert with the Royal Concertgebouworkest Amsterdam, Vienna training and stage versatility allow him to sing a wide variety of repertoire in many different Philharmonic, Philadelphia Orchestra, Bayerische Rundfunkorchester, Bayerische Staatsorchester languages and styles. 4 5 Das Lied von der Erde At Wörthersee The long, endlessly stretched crescendo on the single note “e” (filled with so much desire) leads to the final part of Abschied, In the first year of the new century, in 1901, Gustav Mahler initiated an annual tradition by spend- which I can only describe with the word ‘cosmic’. The voice is surrounded by floating meteors, objects, particles or stars, which ing the summer holidays with his family near Wörthersee. In order to find peace and quiet to move in various directions and speeds. We have left the atmosphere and look back on the beautiful green and blue planet. compose, he had a small studio – a composer’s shed – built near the holiday villa where he stayed ‘Die liebe Erde’, the lovable Earth that will stay and flourish in the spring (while we have less then 100 years to enjoy with his wife Alma and the children. It was there that Mahler wrote his Fifth to Eighth Symphonies and it), is the subject of Mahler’s adoration, the friend, to whom it is so painful to say farewell. This adoration of nature brings the Kindertotenlieder. In 1907, however, the joys of the annual holiday took a dramatic turn when his Mahler closer to Tao and Spinoza than to various religions he flirted with earlier. While saying farewell to the world, he found two daughters became ill shortly after their arrival. Anna quickly recovered, but Maria lan- his true love and his true friend – planet Earth. guished, felled by a combination of scarlet fever and diphtheria. The composer was so shocked by Iván Fischer the sight of his eldest daughter that he withdrew to his shed. Two weeks later, on 12 July 1907, Maria Symphony and song united breathed her last breath. The doctor, having departed, was called back because Alma fainted when rom the symphony to the song would seem to be an enormous step: from the largest form for the she saw the hearse. When Mahler ‘jokingly’ requested his own examination, he was found to have Flargest orchestra to the smallest form for the smallest ensemble. Gustav Mahler nonetheless a serious heart condition, a matter that was to occupy him for the rest of his life. Thus Das Lied von brought them together and interwove them. It is sometimes said that his symphonies sprang from der Erde was written at a time when death had become a very real menace. To make things worse, his songs. He employed songs in his Second, Third and Fourth Symphonies, thus incorporating the intimate Mahler had lost his position as director of the Vienna Court Opera, the victim of cynical and anti- song with piano accompaniment in large-scale orchestral works for a wide audience. For the same semitic press campaigns. In the summer of that same year he wrote to his good friend the conduc- reason, to increase both scale and scope, Mahler also composed songs for voice and orchestra. He tor Bruno Walter: ‘Only here in solitude could I come to myself and become aware of my own self. created his most far-reaching fusion of song and symphony in 1908 in Das Lied von der Erde, which is re- For since the frantic angst that overcame me I have done nothing other than shut my eyes and ally a symphony for two vocal soloists and an extensive orchestra. In something more than an hour ears. (…) But I speak only in riddles (…) This is not at all that hypochondriac angst for death we hear six symphonic songs, whose texts tell of the ups and downs of the world, of life and love. which you may suspect. That I must die, I knew before. (…) I only want to tell you that at a single At the same time, in this his last but one completed work, Mahler presented a summary of his blow I have lost all lucidity and comfort (…), that I stared into the void and now, at the end of my creative life, in retrospective mood. ‘Like Marcel Proust, Mahler salvaged his idea from his child- life, I must learn to walk and stand again like a fledgling.’ hood’, the music philosopher Theodor Adorno wrote in his famous essay on the composer.

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